"Duo for Piano and Shark" [mp3 removed]
I often think about live "chamber" style music that combines acoustic and electronic instruments--this is an exaggerated, joky example. The truth is, I care less and less about live playing as compared to the "electronic object" of a studio work. This relates somewhat to what I was saying about the artist being best invisible. But there's nothing wrong with, ahem, visual cues as to where the music is coming from or going.
"Shark Shanty" [mp3 removed]
A short melody played on the Shark (Reaktor) synth with fairly heavy compression--not sure how this will fare on smaller speakers. The tune was originally a demo for the very basic SQP (Reaktor) sequencer module (used to trigger the notes) that I rewrote to take advantage of the zany portamento (glide) between notes.
From a Roger Ebert interview with John Waters (hat tip TH):
The other thing [Russ Meyer] did was attack the critics. If they said one bad thing, he would write the most hateful letters to them, which is, I believe, the exact opposite of a pro. But he was in my apartment looking through my bookshelf and I saw him lunge for this one volume and pull it out and it was The Mellons. But it was the Mellon family and he thought it was a tit book. And that summed it up. He was obsessed; he was an outsider pornographer, only soft-core. He couldn't help it.
